Peter_Young Reviews

Khiladi (1992)

Quite a nostalgic watch elevated by the refreshing presence of Akshay Kumar

[7/10 · 20 November 2023]

A young group of four college students decide to play a rather vicious prank on the father of one of them, a young girl named Sheetal, threatening him that his daughter would be killed if he did not pay ransom. This prank goes totally bad, as the girl is mysteriously murdered during their hideout. Following the incident they look for ways to clamber out of the situation to avoid being blamed for no fault of their own, and they seem to make every possible mistake in the process. This is the core story of Khiladi, a typical Hindi film of the times in many aspects, but also a cut above the usual fare in others.

The early portions of the film offer some sweet nostalgic throwback right into the early 1990s, and the film feels pretty much like an enjoyable high school romance, filled with a youthful spirit and a lot of comedy. The comedy isn't very original or particularly funny, some of it is actually too obvious and exaggerated and the school excursion sequence in particular is clearly inspired by Some Like It Hot. The youthful feel, however, is quite sweet and pretty well handled. The camaraderie between the group of friends is right on, and some of the early songs feel pretty much like a take-off on Grease.

Once the film enters its suspense/murder mystery mode, it initially falters but recovers very soon. The group's reaction to Sheetal's murder is most unnatural. They don't seem shocked enough, they don't even go into the house checking if the murderer is there. What's more, just within seconds, they are too quick to pull themselves together and start planning what to do with the body! Even more weird is that the one who first initiates getting rid of the body is the guy who's supposed to be the victim's boyfriend. That too, their plans to get rid of the body are so unsophisticated it's almost funny.

This is not to say this part is bad enough to ruin the film, because the story reemerges very soon, and as it turns into a murder mystery thriller cum whodunit, it's enjoyably effective. The viewer is left wondering who could have possibly been the murderer, and this secret is kept really well. Technically, the film is quite okay, the camera and sound are decent, it's okay within the context of the film. The music is excellent, with some youthful numbers decorating the first half, while ballads like the sensuous "Dekha Teri Mast Nigahon Mein" and the melodious "Waada Raha Sanam" stand out and resonate.

A very young Akshay Kumar is perfect for this lead role. It was clear right then that he had everything it took in terms of star quality - very handsome, eminently likable, and with a strong, charismatic screen presence. It goes without saying that his action scenes are superbly performed. What's more, he's a complete natural throughout and is so easy on the camera. Ayesha Jhulka is cute and efficient. Deepak Tijori plays his regular part in those days, that of the main hero's good friend. The rest of the cast do well in their bit parts, and although the acting is typical for a commercial Hindi film, it's generally okay.

Khiladi is overall a very enjoyable experience, and I'm sure for many it bears some great nostalgic value, given the songs and that innocent atmosphere of yesterday's mainstream films, which is somewhat missing in today's more sophisticated cinema. Those were the days when films didn't have much financial or technical advances that prevail today, but they had heart and a strong sense of connection to the Indian culture and to the moviegoing masses. Khiladi actually does a good job of not spoonfeeding the audience to an over-reaching extent, and that's why it's watchable and entertaining even today.

Sabse Bada Khiladi (1995)

Enjoyable thanks to Kumar's starry presence

[5/10 · 20 November 2023]

Okay, the film doesn't really start very well, but once the character of Lallu is introduced, it's quite fun and watchable. Towards the end, however, it goes back to being a rather pathetic sort of enterprise where some of the action and especially the court scenes are hilarious in their absurdity. The court in particular feels like a circus and I can't believe many of the things presented in it made sense to the writers, director, or actors playing in it. Everything in between, as Lallu enters the house of a wealthy businessman, gains his trust and eventually marries his spoilt daughter, is eminently watchable. The film takes plot elements from Umesh Mehra's own films like Mujrim, so everything is rather familiar, but it's watchable. Much of the film is set in a huge mansion, which is usual. The cinematography does get a little funny, as the lighting and the use of smoke and shades is exaggerated, but within the context of a thriller or mystery, it's quite passable.

Sabse Bada Khiladi rests on the able shoulders of Akshay Kumar, and you gotta like this actor, who's always greatly unaffected and whose wholesome personality and impressive agility in the action scenes and throughout the show is totally entertaining. Less should be said about the rest of the cast, including his pretty leading lady, Mamta Kulkarni, who just fills in the blank, and some of the caricature villains. Mohnish Bahl, for one, just doesn't suit his villainous turn at all. I wish the film had delved more into the romance between Akshay and Mamta, which was sadly lacking despite the shock value in some of their lip locks. The music is nice, especially that sensuous "Bharo" number (copied from Enigma's "Hallelujah"), which is quite exotic and is probably the only instance where Mamta gets an opportunity to shine through her dance and sultry presence. Sabse Bada Khiladi is a typical action film of the 1990s, and it's a little silly, but overall, quite fun.

October (II) (2018)

A poignant slice-of-life film which requires patience but grows on you

[6/10 · 20 November 2023]

October starts with very good premises, and it is indeed an appreciable art film which is real, authentic and quite moving. The film centers on the character of a young man who appears quite a spoiled brat and hardly takes anything seriously, including his job a luxurious Mumbai hotel where doing a good job could propel his career forward. An incident with one of his colleagues, a girl who might have been interested in him, gradually changes his perspective, and he becomes so invested in it, that everything else in his life becomes sidelined. While his character couldn't be more annoying in the early portions of the film, you really start seeing beyond what meets the eye and actually liking him a bit. The entire development of the story from then on is poignant and moving.

True to its premise, October is a very serious and realistic film, and while it's consistently watchable, it's a little slow and does require patience. Technically the film is excellent - it's well shot, the background score is beautifully soothing and very fitting to the situation, the dialogue is casual and real, and the overall high production values make for a watchable film. Varun Dhawan performs competently in the lead, and his gradual self-discovery and personal growth from the obnoxious, self-centred guy into a man of conscience and respect is well etched-out. Banita Sandhu is very good throughout, especially when she becomes bedridden, and Gitanjali Rao is excellent as her devoted mother. October is a poignant film but it could have benefited from a tighter script.

Rocky Aur Rani Kii Prem Kahaani (2023)

A visual and musical extravaganza which celebrates its irresistible spirit of joy, embraces India's cultural diversity and strikes a balance between tradition and modernity

[7/10 · 14 November 2023]

Finally, Karan Johar does it, finally. It's taken time, but this is without a doubt his best film. I thought his best film would probably come when he finally tones down the high melodrama that often prevails in his directorial efforts. But no, not only didn't he give it up, he actually embraced it wholeheartedly and in the process created a film so whimsical and animated you can't leave it. Indeed, Rocky Aur Rani Kii Prem Kahaani is a full-on emotional melodrama, but one that celebrates and remains in sync with its great spirit of joy, its musical abundance and cultural diversity, maintaining a deep connection to its Indian roots as well as the heritage of popular Hindi cinema, while conveying positive social messages through glossy entertainment.

The film is a visual extravaganza, and it's shot so well that in some parts it reminds you of Sanjay Leela Bhansali's films. The setting is highly luxurious and glossy, and the amount of money and effort put into creating some of the exteriors and the overall production design is quite evident. Some of the sequences, like the wedding ceremony, the Durga Puja party, among others, are absolutely stunning in their photography and style. Also noteworthy is the fact that finally a film by Johar isn't set in New York or London, finally a film that embraces its own Indian culture, particularly the diversity of it, and above all embraces the Hindi film format, showing that masala isn't a derogatory term for cheap potboilers, it could be a perfectly legitimate form of art, too.

The narrative style is just fully musical, and I can't think of a better way to have music as your main means of communication on film. Indeed, music comes everywhere, in the middle of the streets or a random conversation, even in the middle of a fight. The film totally celebrates Indian popular culture and it does so completely unabashedly. Some of the original numbers (including "Tum Kya Mile" and "Kudamyi") are stupendous and they're obviously wonderfully shot, but the nice original songs put aside, the film recaps numerous classic Hindi songs throughout its duration ("O Saathi Chal", "Hum Tum", "Abhi Na Jao", "Aap Jaisa Koi", "Aaj Phir Jeema", "Dola Re"), making it quite a fun nostalgic ride and a tribute to Hindi film music.

So, what this film is about is quite obvious, I believe. Rocky and Rani fall in love and their idea to bridge their cultural differences is to reside each in the house of the other for a period of three months. Both come from wealthy families, but his is a traditional, conservative Punjabi family led by his grandmother, a domineering matriarch who keeps a firm hand over everything and every member of the family. Rani comes from a liberal Bengali family of intellectuals and academics who love poetry and high culture. It is obviously a stereotypical portrayal, but it's passable. The hostility toward the two in each house exists, albeit at varying degrees depending on the particular members of the family, but it becomes a nice journey to learning and self-discovery for all.

Interestingly, instead of deepening the contrast between modernity and tradition, this film fosters a common ground between the two, finding creative ways to make them meet in the middle, which is exactly the kind of balance politicians in the world should do but never grasp. The film incorporates a strong feminist voice, while also defying gender stereotypes and prejudice. While the messaging is a little too obvious and a tad preachy at points, it's never extreme. The principles it promotes are most basic: equality, respect, and the right to self-fulfillment. At the same time, it strongly attacks the ever-restrictive rules of political correctness, and the weird phenomenon of the cancel culture, a terrible substitute for education and social change through teaching.

Now it's pretty obvious that the film isn't to everyone's taste. The dialogue is overtly emotional and exaggerated, with heavy music playing in the background and the camera focusing on crucial moments in amusing ways, exactly the way it's done in the most casual of soap operas. The way the families from different ethnic sectors are portrayed is also quite caricaturish. BUT it also depends on the context. Unlike Johar' Kabhi Alvida Naa Kehna (2006), which was an awful film for many reasons, particularly because of its attempt to make a serious film through the most shallow scenery, childish dialogue and the most convoluted of situations, here the context is everything and the foundation is so wild and traditionally melodramatic that much of it is forgiven.

The film stars two of the top stars working in Hindi film industry today, Ranveer Singh and Alia Bhatt, and both are wonderful in etching out their starry turns while still capturing the human core of their characters. Bhatt is exactly the right combination of the new Indian woman who knows her mind but also has her values intact, and she is wonderfully expressive and charismatic. It is Singh though, who keeps everyone on their toes. His flamboyant energy remains unmatched and is quite infectious, and even in the most melodramatic parts he manages to immerse himself in the dialogue and the character's emotional condition. The two have great chemistry together, which is very filmi but quite credible within the film's context.

But the show also rests on the towering presence of its veteran players, especially Jaya Bachchan and Shabana Azmi. Bachchan obviously hardly ever hits a wrong note in a role similar to what her husband played in Kabhi Khushi Kabhie Gham... (2001). Her character does veer into caricature, especially in her permanent frown throughout the film, but it's so much fun. She nails every second of Dhanalakshmi's imperious presence, vicious stubbornness, and non-nonsense attitude. Her dynamic with Alia reminds one of Dina Pathak's rapport with Rekha in Khubsoorat (1980). Azmi is wonderful as her polar opposite, portraying with great delicacy and depth a character that could have been sidelined as just another grandma-filler part, but she gives it so much meaning.

And so do the other players. Dharmendra does really well in a relatively small part. As his son, Aamir Bashir, an excellent actor in his own right who is quite underrated, plays the male version of his mother exceedingly well. Tota Roy Chowdhury as Rani's father who doesn't abide by the rules of gender roles and keeps his love for Kathak dancing alive, is excellent. His dance is fantastic. Bit parts by Kshitee Jog and Anjali Anand as Rocky's mother and sister, are very good. It is Churni Ganguly, however, as Rani's eloquent but condescending, high class and touch-me-not sort of woman, who is the best of the character actors, and she grows as a character. Overall, 'Rocky and Rani' is wonderful entertainment. It's not a perfect film, but its heart is in the right place and it works.

Once Again (2018)

Culinary art and melancholic romance captured through brilliant subtlety and phenomenal visuals

[7/10 · 9 November 2023]

Once Again is a spectacularly well-photographed feature which celebrates love and relationships quietly and with impressive delicacy. The film follows the growing relationship between a widowed woman and mother of two running a small-scale food business and an ageing and lonely film star. Their acquaintance results from him becoming a regular customer who orders her meals. They become increasingly fond of each other, they have many heart-to-heart conversations, but their sweet romance is kept a secret, as she comes from a milieu where such a relationship could only damage her reputation and children.

Let's just start by pronouncing the main attraction of the film and it's the cinematography. The film is amazingly well shot - the camera captures the tiniest of details the script asks for. The way the city lights are shot during night drives, the closeups capturing the protagonists' emotional state, the views of the city landscapes during the day, and obviously the art of cooking and the portions filmed in the kitchen, are all an absolute delight. Director Kanwal Sethi makes a film that is meticulously detailed in its expression that you could easily enjoy it as much without the dialogue. Moreover, the background score is very soothing.

Does the story live up to the technical mastery? It does. The film does get a little self-indulgent for its own good, but it's quick to pick up from some of its pitfalls. The romantic tension between the two leads is effectively constructed, and its realisation is nothing short of staggering. Story-wise, it is a little amusing that such morals still exist even in the more urban areas, that, as one of the elder characters says, the happiness of the children trumps that of the parents. This narrow-mindedness feels so old-fashioned and dated you wish there was another conflict. I also wish the bitterness of the male lead, which is a little overdone, was toned down a little.

Shefali Shah is stunning. First, in terms of her appearance, she has never looked so attractive, but not in the cheap sexy sense - her real, earthy Indian beauty blossoms as she dons traditional attire equally as much when she walks on the street or engrossed in kitchen work. This is obviously just the exterior, as Shah is obviously one of the prime examples of an actor so natural, nuanced and unself-conscious that her scenes often look like a piece of footage captured from a hidden camera. She's amazingly minimalistic and phenomenally expressive at the same time, and her eyes convey so much of the supposedly missing dialogue.

Neeraj Kabi is excellent in a role which does get a tad stereotypical but never takes away from his understated performance. I do understand film stars deal with difficulties pertaining to their fame, including lack of privacy, loneliness, and the challenge of maintaining one's artistic ground. That said, the role would have benefitted from some positive strike as he looks consistently bitter and frustrated. The rest of the cast do really well in their bit parts, and the film concludes on a nicely positive note. Once Again is a very nice watch - it is well-photographed and narrated and particularly strong in the acting by Kabi and particularly Shah.

Lekin... (1990)

Gulzar's magical realist classic; moving and enchanting through its great writing, Dimple Kapadia's poignant portrait of expectancy, and Lata Mangeshkar's staggering vocals

[9/10 · 9 November 2023]

In Lekin, Sameer, a museum curator working for the government, is sent to Rajasthan to evaluate artifacts in an ancient mansion which ages ago belonged to Raja Param Singh and is now government property. His arrival in the region is marked by an eerie encounter with Rewa, a beautiful woman who he gradually realises is actually a ghost. Sameer is fascinated by her sporadic apparitions and is greatly absorbed by this phenomenon. When their encounters grow, and their interactions deepen, she presents him with a live flashback which reenacts the mansion's history, which includes her tragic story of captivity in the hands of the ruthless king. Sameer is quick to understand that Rewa is stranded between worlds and needs to complete her journey across the desert to find liberation. He becomes determined to help her through this journey and liberate her.

Lekin is a work of transcendent art. One can hardly ever expect less than pure artistry from Gulzar, and this film, like most of his previous ventures, is poetic, poignant, profound, and deeply affecting. The film is beautifully photographed, with extraordinary setting, costume design, background score and overall high production values masterfully used to depict its magical realism. Written with fantastic creativity and directed with fervour by Gulzar, Lekin is an experimental piece, which wavers between supernatural suspense, platonic romance, thrilling adventure, or even coming of age drama. And it threads between all those genres by embracing its rich folkloristic fantasy. The use of symbolism enhances the narrative, the way the ghostly apparitions and past imagery are presented is most enchanting, while the story in flashbacks really tugs at the heartstrings.

The film's use of magical realism is a very rare occasion in Hindi cinema. Particularly interesting is its approach to supernatural phenomena, which are seen through an intellectual lens. The film is not simply a fantasy, it's a riveting mystery which poses questions without fully knowing the answers to them. Sameer himself is presented as a rationalist; a worldly man who doesn't believe in superstitions, cameos, let alone ghosts, but this incident throws him off balance and makes him question the very core of his convictions. Still, he goes to consult not some conning psychic but a professor of parapsychology. Above all, he is totally intrigued by this woman and aims to understand her motives. I believe the character of Sameer reflects in a way Gulzar, also the film's writer, who was perhaps as curious about the subject as Sameer appears to be.

In this sense, Lekin is an exploratory film as much as it is a delightful mystery romance. Despite its undeniable beauty, some viewers might find the film even a little disturbing both because of the analytical handling but also the harrowing story in the flashbacks. Since science can explain much of what is often rendered occult, thinking viewers observing Sameer's interactions with the ghost, are likely to feel there's some problem with him just like his friends in the film do, and that it is his sub-conscious that fills his sense of reality. You really feel for him and wish for his return into his own previous self. Lekin after all works more than anything as a great mystery offering rich cultural insight of the feudalistic system in India and the destructive nature of class hierarchy. As a character, Rewa, the unblinking ghost, is a sight to behold, and she is heart-touching just as she is enigmatic.

The acting is roundly excellent. Vinod Khanna is on top of his game, giving a wonderfully compassionate performance which isn't easy to etch out. Amjad Khan and Beena Banerjee are wonderful as his worried friends. A graceful Hema Malini gives a knock-out dance number and a nice conclusion in the last scene. Needless to say, it is Dimple Kapadia who gives the film its dramatic poignancy and ethereal tone in what emerges as a fascinating portrait of expectancy. Her presence alone conveys such a powerful sense of otherworldliness, but then those expressive eyes - they are haunting, and through that eager glimmer of melancholy they register such yearning and longing. That this film achieves its desired aura of magical mystery is mostly to her credit. Even in the musical numbers, there's incredible ardor in her convictions. She is unforgettable.

Hridaynath Mangeshkar's music gives life to the film, through its extraordinary melodies, brilliant lyrics and phenomenal visualisation on screen. The phenomenal musical numbers are topped by Lata Mangeshkar's otherworldly rendition of "Yaara Silli Silli", a piece of unmatched melodic, lyrical and instrumental harmony and, how not, one of the greatest vocal performances one can imagine. Indeed, without taking anything away from Gulzar's script, the acting, and the overall brilliance of Lekin, it is Lata Mangeshkar who is its ultimate winner. Lekin is one of the prime artistic achievements of her illustrious career, as far-reaching as it may sound considering she was the voice of a nation, whose lasting impact on Indian culture and the overall Indian experience remains unparalleled, and that she also happens to be one of the most prolific recording artists in history.

A few words then about Mangeshkar, who had decided to produce the film in order to have an opportunity to sing what her heart longed for. It's hardly surprising that the outcome is so good, as one can never expect less than sheer perfection from a paragon whose divine voice is a force of nature and one of the great wonders in the history of music. It is thus so fitting if not instantly obvious that she, a supernatural being in her life, is the one responsible for this supernatural film. Likewise, while she is no longer with us, her music lives on forever, making her immortal just like the film's premise suggests; her eternal presence in the hearts of millions totally matches the eternal essence that 'Lekin' encapsulates. The film is one gem of a movie, it is among the best works of Gulzar and Kapadia's careers, and today, more than ever, a tribute to Mangeshkar's enduring legacy.

Nagina (1986)

Solid entertainment and a wonderful Sridevi

[7/10 · 9 November 2023]

Finally, a mainstream film from the 1980s which did something a little different and notably more substantial than the usual masala fare. Harmesh Malhotra's musical fantasy Nagina is no different in the way it's directed or acted, of course, and it's ridden with absurd action scenes and some of the occasional, unfunny comedy. But, where it scores is in the subject matter and the reference to Hindu mythology through the serpent-like, shapeshifting Naga protagonist. This folkloristic element, which the entire film revolves around, elevates its artistic merit considerably, especially at a time when no commercial film dared to waver from formula.

Indeed, that's what makes Nagina a consistently engaging and entertaining film. The story is captivating right from its start, and the writing manages to keep everything gradual, intriguing and unpredictable. Does everything in the film live up to the good premise? Certainly not, filmmaking-wise it leaves a lot to be desired, but here's a film where its fantasy and fairytale-like style allow much of the absurdity that would otherwise be an immediate letdown. Even the well-known, exaggerated delivery fits the mystical narrative. One is left wishing better technology had been in place at the time, as it would have made the film so much better.

Sridevi, an actress so extraordinary in her ability to communicate with and through the camera, is the perfect choice for this snakewoman role. She is everything that makes Nagina what it is. And boy, what a dancer she was. Her electrifying performance to the climactic "Main Teri Dushman" sequence is the film's artistic pinnacle in terms of how well it's shot, choreographed, and danced by Sridevi. Rishi Kapoor does well in the hero-filler role, but the character actors enjoy greater roles. Sushma Seth is very good as the shocked mother, and Amrish Puri is another example of perfect casting as the wide-eyed snake-charming villain. A nice, nice Hindi film, indeed.

Sherni (I) (1988)

Less of a lioness, more like a house cat gone totally mad

[4/10 · 9 November 2023]

This film could have been a marvel if it just had been treated well. Sadly, it's as embarrassing as most films of the sort. Sherni was one of the first of a weird trend of women-centric action films based on revenge, and it happens to be one of its worst examples. What was the idea behind this "revolutionary" concept? That if we have angry young men then why shouldn't we have angry young women? Women deserve to take center stage, obviously, so let's just give them exactly what the guys are doing. This concept could be interesting if the films weren't so bad. And in all these films, the woman is always this demure, pure creature who's been wronged and is not up on her feet seeking revenge. Some films of this sub-genre actually worked, like Khoon Bhari Maang, because it wasn't an action film after all and it had heart and a phenomenal Rekha; and, to a much lesser extent, Zakhmi Aurat, which started with silly action but ended up growing with a strong idea of revenge and a strong turn by Dimple Kapadia.

Sherni, however, doesn't work, and the absurdity of both the action and the script is staggering. It's just so poorly made you almost feel like having to look away to avoid the embarrassment. For a film to require constant suspension of disbelief, and not just in the technical aspect, but in the way the story is developed, is something else. One scene in which the leading lady's family is killed is so inaptly handled I couldn't believe someone in the production or editing department actually saw it and let it out this way. In another scene with her father lying on bed, the heroine is crying copious tears after a tragic incident and within less than a few seconds she raises her head in determination to signal the viewers of her prompt decision to seek revenge. It's so unbelievably bad, and I'm not even mentioning the police cars filled with dolls instead of actual humans for body doubles (yes! In one action you clearly see dolls within one of the police cars because stunt body doubles were probably too expensive). It's just the tip of the iceberg.

Sadly, it is Sridevi who had to bear all this, both as a character, but more an actress. I don't know if she had ever watched this film and what she could possibly have thought about it. She's a great dancer, a natural performer, and she had the action potential which was used better in other films, but this film doesn't give her a chance. To her credit, she starts off really well, and even when she transforms in a jiffy into a ruthless avenger, she does well in some scenes, but how effective can anyone be in such a poor film to begin with. Even she with her strong presence and undeniable acting chops couldn't save this weird bandit queen who's gone totally nuts. Many other names are wasted here, including Pran and Lalita Pawar. Shatrughan Sinha, despite his non-nonsense decency, looks too old for the part opposite a juvenile Sridevi. His part is very similar to his appearance in Khoon Bhari Maang, and while here it's a full-fledged character, it's much less effective, probably because of the film's poor quality itself.

Pikoor Diary (1981 TV Movie)

A detailed and insightful glimpse into a child's experience; weaker in other parts

[6/10 · 17 October 2023]

This short is a very nice episode in the life a cute kid Pikoo, who lives a life of comfort in a rather luxurious house with his parents, ailing grandfather, and a host of servants. The film presents formative moments in one day of Pikoo's life which clearly shape his childhood and will be remembered as he grows up. As expected, Satyajit Ray directs this feature with poignant detail. The attention paid to each tiny object is quite extraordinary. One has to watch the film several times to catch the symbolic value of each one of the shots, set items, dialogues, gestures, and metaphors. Nothing is meaningless in Ray films, much less in a short film where the message is the main purpose.

Pikoo does falter a bit in the portrayal of the extramarital affair his mother leads with a family acquaintance, which isn't fully convincing and takes focus from the main, more interesting portrayal of the crucial, defining moments in the kid's childhood. We get it, this is a wealthy, upper-class family which seems quite liberal and dysfunctional at the same time. The wife doesn't function as a traditional housewife; the husband seems aware of and yet perfectly indifferent to his wife's infidelity; the lover is just there with no character; we learn from the kid that his parents fight at night. This entire set of underdeveloped stories makes the overall product a bit gloomy and unappealing.

Where the film wins is, indeed, in how well it captures the life of its titular character. In Ray films, there are no heroes, villains, or overly special characters. His protagonists are therefore real, ordinary and realistically human. Pikoo is thus very much a regular kid, and that's what may make his experience feel so relatable and familiar to many. He is curious, thoughtful, always looking for something to do to fight boredom, running around, playing pranks on strangers; as it happens with many kids, he loves his ailing grandfather, who treats him with extra affection like grandparents often do. This part of the film is, indeed, quite moving and convincing.

Ray masterfully collects these moments together. Even that grandad is not left as an inconsequential character. A moment where the "old man" realizes the way his children think about him and approach his condition, and that he might be a burden to them, is captured so beautifully as he looks over his late wife's picture on the wall. I wish there was a similar complexity in the relationship between the wife and her lover. All the actors do a good job. Again, I do wish the film had presented more redeeming qualities or left out some of the parts for another story. But Pikoo is a strong short anyway. It's an engaging chapter which is a little slow but it stays with you.

Zakhmi Aurat (1988)

Artistically abysmal but consistently watchable and even effective film about collective female revenge; Kapadia shines despite everything

[6/10 · 16 October 2023]

Zakhmi Aurat seeks to tackle a national pandemic in India: rape. And it also offers a solution: castration as a viable form of punishment, although we all know it's not very plausible in the civilised world. Through the main character of Kiran Dutt, a brave police inspector who is brutally gang raped and later denied justice within the formal confines of the legal and judicial systems, we see a harrowing story of frustration followed by Kiran's decision to unite with other rape victims for the execution of their own revenge plan: castrating the rapists one after the other. While the women's actions are shown to have a positive influence in the country in terms of significant decrease in rape rates, interestingly they do not receive universal approval even within the film itself as even her fiancée tells her this isn't the right way to handle the situation, and her boss, the police commissioner, explains how wrong it is to take the law into their hands, which will eventually lead to chaos.

It's a little funny that the director once called it an anti-rape film. Can there be a different message behind a film about rape? Is there anyone who would heaven forbid endorse such a harrowing crime against humanity? Obviously not, but the reason for his clarification is the fact that Zakhmi Aurat faced accusations of sensationalising rape, and I can understand why, although I can also definitely explain why this isn't the case. The main problem with the film is quite simply the same problem found in the great majority of Hindi films from the 1980s: its the artistic quality. Indeed, Zakhmi Aurat is outrageously unrealistic, as it collectively employs every single of the usual tropes of mainstream Hindi film, from ridiculous action sequences which would hardly make sense even in a fantasy film, with all the dishum dishum sound effects, which today will be cringe-worthy to the average viewer. The dialogue is stagy, highly melodramatic, and many scenes are lacking basic logic.

And yes, indeed, that rape scene, which wavered somewhere between childish caricature and sensationalist ploy designed to attract as many potential (male) viewers as possible, is a low point in the film. This is one of many glitches in the narrative, among which the court sequence, which is handled like a school play, is also most embarrassing. The same goes for the execution of the revenge; the reaction of the first rapist to be castrated to the punishment he had been inflicted with, is most unrealistic and is even presented as some sort of comic relief, which is ridiculous and definitely not the right way to be shown. Likewise, in one of the film's predictable but interesting episodes which convey the message of 'what goes around comes around', the daughter of the lawyer responsible for the release of Kiran's rapists is in danger of being herself violated. That he ends up needing specifically Kiran's assistance and is forced to actively approach her for help is another absurdity that wouldn't make sense in any reality.

Now hold on! There's a twist: after having said all that, beware as the film is likely to grow on you, and it has some sort of consistent messaging that does work. But before that, despite the regular flaws, one must note some of its technical aspects which are really good. The quality of the camera work is surprisingly good, the cinematography is excellent and the art direction, set design and overall production values are better than expected. Everything, from the way newspaper headlines are presented to how the houses are designed, makes for a nice visual experience. Script-wise, Kiran's grief upon being raped, as well as the scenes showing her return back home and the experience of having to relive what she had been through, are portrayed exceedingly well. Even her gradual recuperation process and the execution of the mission are displayed well. Moreover, that the film doesn't take one firm stand for or against the women's acts of revenge is probably a good choice, too (although the general approach is quite clear).

While the moral of the story couldn't have been more simplistic, honestly, within the context of the film and despite the many pitfalls, it's enormously cathartic. Despite being an ultra-commercial film with all the usual ingredients all squashed together, the film still somehow manages to maintain its status as a movie with a social message, and a real one at that. That it caters to the wide audience almost inevitably requires that populist sensationalism would be its immediate form of communication with its potential viewers. But the message is there, and it is, believe it or not, effectively presented within the given context. In this regard, Zakhmi Aurat is a social movie which makes tremendous artistic concessions to be geared to the masses, giving them valuable and educative entertainment. If that could have evoked some sort of understanding back in the day or scared even one less educated individual from engaging in such hideous and criminal activity, then so be it, it's good enough.

And speaking of redeeming qualities, how can one go on without mentioning the one who gives Zakhmi Aurat its primary meaning and conviction, mostly not warranted by the script. Dimple Kapadia shines despite every possible mistake the director insists on making. She is really, really strong in the part, portraying every ounce of Kiran's grief, frustration, resilience and redemption with credibility and inspiring self-assurance. That she is an actress endowed with tremendous good looks and indelible natural charisma on the screen is obviously a great bonus, but it's more than just that - even though it would be almost impossible to believe that within the limitations of such a poorly constructed narrative an actor could take a role so seriously, she does just that, and she succeeds. Her staunch supporter, Raj Babbar, is fantastic. Interestingly, a few years later he would play a very similar part opposite Kapadia, that of a worldly man who despises the distorted moral principles of the surrounding society in the masterful Rudaali.

Among the rest of the players, all the rapists are written and presented as crude caricature villains, and so is Anupam Kher as the lawyer. Kher specialises at playing those mega-annoying characters who later realise and regret their misgivings. Many years later he'd play a similar part in the beautiful romance Veer-Zaara. The other female players, on the other hand, specifically those forming the avenging sisterhood, including Aruna Irani and Rama Vij, are all quite good. The ending sequence is one I didn't even imagine would not be there - it just goes without saying that a film of this sort would end up giving the heroine a larger-than-life monologue which would recap the entire story and all the injustice in one short speech full of pathos. I didn't like it, but I liked Kapadia. Zakhmi Aurat is obviously her film all the way, and while it isn't a good film in and of itself, it is quite watchable. Needless to say, there is one primary reason which enhances its watchability and it is Kapadia herself. She makes much of it forgivable.

Chhuri (2017 Video)

Smart women know their stuff - problem solving with a nice dose of sweet revenge

[8/10 · 15 October 2023]

I wasn't too aware of Tisca Chopra's talent, but I started realising it when I watched Chutney, a phenomenal short film which completely relied on her performance and exemplary narration. This film sees Chopra in an altogether different avatar; the rustic woman of Chutney makes room for Meera, a strong urban woman who deals with her husband's infidelity, which, being the smart woman she is, she is perfectly aware of. And she does it so elegantly and sneakily it's amazing! In an unusual turn of events, she pays a visit to her husband's lover (while the husband is forced to hide in the closet), who appears to be an acquaintance, and what's more, she actually proposes the idea of coordinating their schedules to share the man's presence, so he could have more time for his family. Better to be bright than right, she might have thought.

This novel and indeed peculiar premise is wonderfully executed on screen. The narrative is whimsical and playful, and is presented with a strong sense of irony. From start to finish, the short remains wholly captivating and even the first introductory scene where the family have breakfast together, as well as the drive right afterwards, does enough to provide the background for the story. The conversation between the wife and lover is fantastic and completely enjoyable. Chopra is a hoot in the part - totally credible in her inner sophistication and deigned innocence. Surveen Chawla is very effective as the lover, while Anurag Kashyap does well as the husband. I obviously won't reveal the end, but Chhuri cleverly illustrates in what way smart women can achieve both retribution and resolution in one go. Truly inspiring to men and women alike.

Everything is Fine (III) (2018)

Never too late to wake up

[8/10 · 6 October 2023]

'Everything is Fine' is a beautiful short in which Asha, a middle-aged mother and wife, visits her young daughter and confides in her a most profound sentiment: she no longer wishes to remain married to Natasha's father. What's interesting is that no glaring fault is apparently found with the husband, who seems a pretty decent man overall. But does it really matter? To Natasha it does; she is unable to accept or even take this decision seriously. Her parents' marriage has always been a given, distorting it would be breaking the unbreakable, even though it would hardly affect her own life now as a grown woman.

What lies at the heart of Asha's decision is what she clearly sees as years of unfulfilling marriage. She has clearly been subjugated her entire life to a man she may not love and who she would not want to spend old age with. At the very least, she has decided to stop compromising. I mention above the absence of apparent fault in the man's personality, but delicate nuances hint at their relationship. In one scene, the husband requests a cup of tea from his daughter because his wife is in the shower - he's clearly not going to prepare it for himself possibly because of a deeply ingrained patriarchal mindset.

The film provides a commentary on the institution of marriage, particularly in societies where divorce is unheard of at the social level, much less at an older age. But life is life, says the film, and no one should ever think it's too late to improve it. Everything is Fine is exactly the kind of story suited for the short-film format, but it was so good that I was left wishing for more. The message behind it was efficiently conveyed and even though I hoped to see a more cyclic resolution to the conflict it presented, it was a delightful episode, wonderfully well shot, with strong visuals, set design and background music.

Seema Pahwa, an actress who can hardly go wrong, is remarkable as the troubled Asha. Her performance is a portrait of self-discovery and liberation, and it's so good that it doesn't even matter if the divorce will ever take place. Her path to self-love has begun, and she has even managed to teach her daughter a valuable lesson. Palomi Ghosh is highly competent as the initially critical yet growingly understanding daughter. Sidharth Bhardwaj is also excellent as the father. Overall, 'Everything is Fine' is a melancholic but impossibly optimistic film which ends up as an inspiring and rewarding experience.

Maya (2018 Video)

A moving portrait of a child's devotion

[9/10 · 6 October 2023]

Maya is the titular character of a young woman who takes a firm decision not to leave her mother alone once married to her fiancé. Her mother is an elderly woman whose health has been gradually deteriorating resulting in her becoming much less independent and thus unable to live by herself. The story is one many people would easily relate to, particularly individuals who have to face the sad reality of having to start assuming the role of a parent to their own parents, who, as years pass by, become more vulnerable, akin to children themselves.

The divine duty of honouring your parents and taking care of them as they enter old age is not equally as sacred in all cultures, but in Indian culture, it goes without saying. This short brilliantly captures the mother-daughter relationship, which, over just a quarter of an hour is given enough scope and depth to come across amazingly real, credible, and affecting. It is never one-dimensional; it is complex and authentic and moving in ways only those who have experiences or dealt with such circumstances in their lives could fully grasp or understand.

In spite of the cultural specificity determined by its Indian setting, the message transcends cultural boundaries as it's clearly universal and globally relevant. The main protagonist isn't one from a rustic background, she is a new-age woman who knows her mind, she is strong and independent, but none of it reduces her commitment towards her mother, and her admirable values. That her mother is a stubborn woman who doesn't want to be a hindrance to her daughter's upcoming message intensifies the conflict of the story and gives it the required dramatic tension.

Kirti Kulhari is outstanding as Maya, in a compassionate, beautiful performance of a woman who sets a great example to many people of what an exemplary child should be like. Maya isn't perfect in her daily interactions with her mother; she can be angry and scolding at times, but her unwavering dedication remains evident. Alka Amin is equally excellent as the troubled mother, who really begins to resemble a rebellious child who means well but is also fears of being scolded and reproached. These two make Maya a phenomenal short that comes highly recommended.

Chaara (2022)

Disturbing and harrowing, and phenomenally well shot

[7/10 · 6 October 2023]

This short starts off as a rather ordinary film and ends up really devastating. Chaara is a critique on carnivorism, and it clearly endorses vegetarianism. Above all, it seeks to raise awareness of something most people wouldn't know about, but in some places, especially in less developed countries, it exists, namely cannibalism. This reality, however rare it might be, is harrowing, as is the fact that women would be the main victims. The way it's presented in the film is, obviously, successfully disgusting.

The effect of the story could never have been achieved without the exceptional cinematography. First, the camera resolution is exceptionally high. The quality of the photography is so good you could actually observe distant faces with full clarity, which obviously makes everything so real and the more disturbing. The camera work is phenomenal. It captures images so crucial to the story, making dialogue totally unnecessary for the conveyance of its message.

Chaara is well acted by its two leads, especially Khan who is the main player here. Other than the stupendous technical advances, the film has great background score composed by Nitesh Rajesh, who also composes a poignant original song performed by Charoo Bakshi, which concludes the short and intensifies the sadness of the situation. Indeed, Chaara is an extremely effective short. It is an artistic creation which isn't positive but definitely thought-provoking.

Arjun (2021)

A heart-touching slice of life episode

[8/10 · 5 October 2023]

Wow, what a moving short that was! Arjun is a realistic and artistically detailed account of a blind boy's experience. His name is Arjun, he is smart and sensitive and full of curiosity. The film presents his story mostly through his interaction with his caring elder brother and his devoted teacher at the school for the blind. Arjun develops an interest for drawing, having witnessed his brother do it, and he starts slowly honing this skill by practicing, and also learning and discovering the world and nature around him.

The short is so real you could easily believe they were captured from real-life settings, especially within the school for the blind. Director Shivraj Waichal directs this short with heart and soul, sensibly infusing it with both artistry and humanism. It should go without saying that little Arnav Abdagire who plays the titular character is phenomenal, playing the part with not a single false note. He is real and authentic in ways one would never imagine. I really hope his talents can be used more in films.

Obviously, this sensitive film could not have been achieved without the cinematography, which is one of its great assets. The music is similarly used to good effect. The supporting cast is roundly excellent, all turning in authentic and compassionate performances. Mahendra Walunj is wonderful as the caring brother, and so is Ashwini Giri as the dedicated teacher who really proves the divine values of the teaching profession. Arjun overall is a moving and rewarding little film.

Nayantara's Necklace (2014)

Not all that glitters is gold, but...

[5/10 · 5 October 2023]

Okay, the message behind this short is definitely worthy, and the story itself is quite good. The execution, however, is faulty to the core. Right from the introduction, the film lacks focus and drags without clear purpose. The story does pick up halfway through, but the duration of the first ten minutes feels every minute of it, which isn't a good thing to say particularly about a short. I wish the director had channeled his attention to the two women and avoided the extension of the already lengthy conversations.

The reason I couldn't afford to skip this one is because of the two excellent actresses, Konkona Sen Sharma and Tillotama Shome. The two play women who are very different - one (Sharma) is supposedly the more outgoing, wealthier woman who leads a financially and personally stable married life. She happens to greatly inspire the other one (Shome), who is more reserved and much less familiar with the ways of the urban world. But inspiration should never turn into imitation, for one never knows much.

Indeed, the climax effectively brings to the fore this very basic conviction, that things are not always what they seem and that a pretty cover can't be used to judge a book. I wish the portions that preceded the climax had been shorter and more concise, this would have greatly improved the rhythm of the story and certainly made it more emotionally impactful. The two actresses are very good in their roles and work professionally to create their slightly contrasting personalities. They deserved a better script though.

The School Bag (2017)

A moving short, overall

[7/10 · 5 October 2023]

A little kid begs his mom to get a new present for his seventh birthday: a new school bag. The mother is clearly not exactly elated to fulfill that request, probably due to a possible financial struggle. This short beautifully captures the innocence of childhood, as well as the simple but happy life that people from the middle class and maybe even below lead. Directed by Dheeraj Jindal with heart, it provides its viewers with a nice cultural glimpse into the lives of an ordinary Muslim family.

Above all, the mother-son relationship is nicely portrayed. Rasika Dugal hardly ever disappoints, and she is excellent as the loving mother. Sartaaj, the little boy, does very well even if acting doesn't yet come very naturally to him. The ending is harrowing, although I didn't think there's any logic in the unrealistic situation presented at the woman's doorstep. The School Bag is anyway a moving short and, on a larger scale, a strong commentary on terror and extremism. Praying for a better world for all.

Ouch (2016)

Nice message, a watchable short but a little too obvious

[6/10 · 5 October 2023]

The boomerang effect is nicely dealt with in this film. What goes around comes around, as they say, and adultery is probably no exception. Set in quite a large and pretty hotel room, the film presents an episode which is supposed to be a turning point in the lives of two individuals who have been cheating on their spouses with each other for three years. The development of the story is quite decent but then there are pitfalls. For one, the short is very static. Not only is it set in one apartment, it's actually mostly shot on one couch! You would expect more movement throughout the conversation. Even just him getting up a little earlier and moving around would do the job.

Technically the film is great, but the background music is quite annoying as it frequently comes in the form of rather annoying sting-like noises designed to punctuate the situation and sort of 'help' the viewers understand the homour and distortion of the situation. I can't stand such disregard for the viewers' intelligence. It obviously explains the fact that the script itself is lacking in spice. Acting-wise, Bajpayee is very good playing this rather annoying, selfish man. He totally gets the pathetic nature of the character, and then the pathetic nature of his situation. Pooja Chopra is quite okay, too. The moral of the story is nice but too obvious. A stronger blow was called for.

Chutney (2016)

A tightly atmospheric narrative phenomenally well played by Tisca Chopra

[8/10 · 5 October 2023]

Indeed, Chutney is a brilliantly ambiguous mystery short, presenting a nicely constructed narrative of nuanced symbolism through metaphoric and poetic undertones of love and revenge. Chutney, the sauce, is a very smart addition to that and a strong motif in the presentation. The gloomy atmosphere is enhanced by solid cinematography and dialogue. Script-wise, the story is so meticulous I'm sure many would have to watch it several times to completely understand the message behind it. I for one watched it twice just to make sure I didn't miss anything. One thing is sure - the short is eminently watchable and suspenseful both in the way it's written but particularly in how well it is narrated.

Indeed, the film's efficiency almost fully depends on its narration, carried out by its strongest asset, Tisca Chopra. That the film works so well is the direct outcome of how well she narrates the story, and it is further enhanced by her excellent performance in the flashbacks. Chopra creates a character so simple and unassuming on the surface that her gradual peeling becomes a strong climax in and of itself. Her face, expression, and casual dialogue delivery are spot on, as the growing danger in her tone, as well as the growing emptiness in her eyes, make the film increasingly creepier. Rasika Dugal is a great listener. Chutney is overall one of the better among the recent shorts you'll see.

Kriti (2016)

Kriti is a fine creation, pun intended

[7/10 · 5 October 2023]

Indeed, a great, great suspense thriller short which makes one with it had gone on for a little longer. A strong, taut script is enhanced by brilliant technical quality in terms of cinematography, editing, and sound. The short benefits from a growing momentum with each passing minute, and its efficacy is amplified by an excellent background score which grows with the narrative, mirroring the intensity of the proceedings. Obviously, the setting is exceptionally well crafted to create the right atmosphere which is creepy and sophisticated at the same time.

Manoj Bajpayee is excellent as one would expect, and the same is true for Radhika Apte. Apte in particular performs brilliantly as the mysterious psychiatrist. Neha Sharma is beautiful as Kriti, and Manu Rishi does well, too. The ambiguity of the script gives the actors freedom to perform. Kriti is a very engaging short overall. It offers a symbolic metaphor for the power of the imagination which can be destructive when not channeled in the right direction. The film concludes on an intriguing note, leaving the ending open to individual interpretation.

Ahalya (2015)

A nice mystery short by Sujoy Ghosh

[6/10 · 5 October 2023]

Directed by Sujoy Ghosh, this mystery short is a captivating episode which turns out to be one of many. The film is set in one house and the buildup of the story is effectively displayed, starting with very well portrayed sexual tension between the young police inspector who visits the place and its resident Ahalya, the gorgeous young wife of a much older artist.

The legendary Soumitra Chatterjee is excellent in a nicely ambiguous performance, and so is Tota Roy Chowdhury, who plays the increasing confusion of the moment really well. Obviously, Radhika Apte is awfully attractive as the young wife and does enough with her presence. It is her role that gives the film its core message of the natures of temptation.

Inspired by the Ramayana, the story and characters are well adapted into this modern-day yet classic setting, which is quite pretty, and successfully serve this metaphoric allusion. The mystery keeps growing gradually until it reaches its climactic highpoint. Despite the chilling conclusion I somehow expected a stronger, more cathartic resolution to the story.

Kali Ghata (1980)

A very poor film, boring and predictable despite the twist in the end

[4/10 · 5 October 2023]

Kali Ghata is one of those Hindi films you wouldn't be able to distinguish from countless other films of the sort. It's a very commercial, very melodramatic sort of masala with all the ingredients you could possibly associate with the genre: many songs, cheesy dialogue, caricatures for characters, poor action, and actors who are made to playact like high schoolers preparing a year-end school play. It even has twins and some so-called mystery drama, but it drags on for so long without really keeping the viewers intrigued. In the end, there's a twist and it's really quite pointless. Rekha is a great beauty, and she seems to enjoy playing the two twin sisters with some mild nuanced changes in tone and expression. At the end of the day, however, she is totally let down by the script and the numerous times she needs to look into the middle distant space while reading out her poor, stagy dialogue. Same goes for Shashi Kapoor. The two acted in some other great films like Baseraa a year later. You better watch the latter.

Tum Bin...: Love Will Find a Way (2001)

Highly benefits from nice locales and memorable music; poor otherwise

[5/10 · 5 October 2023]

Tum Bin is a nostalgic watch, but not for the right reasons because frankly speaking it's not a very good film in and of itself. Something about the film, its music and its style, is very closely associated with the kind of films made during the early noughties, which I'm sure will make many want to revisit it. For some reason, Tum Bin never feels like a regular motion picture, but rather a typical Indian TV serial of the times in terms of its filmmaking style, sound, exaggerated score, production values, and overall feel. This is director Anubhav Sinha's directorial debut, clearly an ambitious one, but much is left desired. The dubbing, in particular, is quite poor and distracting, which was a common problem back then, but it's pretty evident the players' speech isn't genuine.

Where the film scores big time is in the music, which I'm sure contributes to its memorability even today, and some of the cinematography. The soundtrack, mostly composed by the duo Nikhil-Vinay, is quite easily the trump card of the film. "Tumhare Siwa", which opens the film, "Pyar Humko Hone Laga" and "Dekhte Hi Dekhte", are all beautifully melodious; Jagjit Singh's ghazal "Koi Fariyaad", as well as Chithra's rendition of the title song, are stupendous. Except for a few glitches here and there (some crucial), the camera work is mostly quite good. The beautiful locations of Canada are effectively captured throughout. The choice of this setting is very refreshing and helps keep the film visually appealing and sometimes even breathtaking.

Again, strictly as a film, Tum Bin doesn't work. The handling is quite amateurish at points, the script is rather incohesive and is consistently sentimental, and the story hardly ever rings true or attracts great interest. The acting doesn't help it much either, as it's mostly unnatural and stagy by one and all (except for, obviously, the legendary Dina Pathak). The three leads are good looking, but not very credible. Priyanshu Chatterjee is the best of the lot as he slightly outplays the rest with his sincerity and quiet charisma. Sandali is very pretty but quite over-expressive, and Himanshu hardly has a role to speak of. Tum Bin is after all watchable for the some of the aesthetics, the great soundtrack, and the relatively glossy setting. Other than that, it has little to offer.

Anhonee (1952)

Much more was expected from this one

[5/10 · 5 October 2023]

An incohesive script greatly impairs the promising potential of the story. The film, like many of its predecessors, including Awara, aims to explore the question of whether one's human qualities are inherited or shaped by the environment. Indeed, the nature vs. Nurture debate, in addition to class prejudice, is a major motif in most films written by K. A. Abbas. Obviously, the dual roles played by Nargis give it another dimension in terms of its entertainment value. Dual roles in Hindi films have become over years a sub-genre of their own, and it has almost been a pre-requisite for actors to play twins with different personalities at some point in their career. However, this film suffers first and foremost from very poor technical handling of the dual presentation. The editing looks non-professional and a little shabby. Maybe it's got to do a lot with how dated it all looks and clearly one cannot expect films of the 1950s to have the same technical advantages of today, but some of the scenes were cut off so suddenly that it was not east to follow the story.

Sadly, the outcome does not live up to expectations. It is definitely nice to see Raj Kapoor in such a restrained performance, without the usual shticks, and he is excellent. His chemistry with Nargis, particularly in the romantic scenes, are phenomenally well etched out. Nargis is generally very strong as Roop, however, she is let down by the script in the way she is required to play the lost, vulgar sister. She looks a little self-conscious, stagy and uneasy in the role, which is not something you'd usually expect from an actress of her caliber. She is never bad, obviously, but I did expect more from such a challenging turn. This is definitely not her fault, Anhonee would definitely have benefitted from better direction. With all due respect to the great K. A. Abbas, his talent as a writer notwithstanding, the direction didn't do his story justice. The film drags on for far too long and I personally lost interest in it halfway through the show. Some absurdities along the way don't help much, although it all concludes on a predictable note.

Jaane Jaan (2023)

A greatly watchable suspense thriller, albeit ultimately not fully realised

[7/10 · 25 September 2023]

Now, this is the kind of film I'm sure many people like, and for a reason. Based on Keigo Higashino's novel The Devotion of Suspect X, it is directed by none other than Sujoy Ghosh, a man who sure knows his stuff, especially when it comes to directing mystery films of this sort. The story is well adapted into an Indian setting, and the choice of Kalimpong is very refreshing, providing a nice insight into the local influence of Nepali culture. Technically the film is excellent. The cinematography is very dark and dim, contributing to the atmosphere the director seeks to create. Jaane Jaan benefits from a tight script and solid pacing, and its twists and turns help the narrative. It first gave me some Drishyam (2015) vibes, as it seemed to have a similar plotline of two women dealing with a man intruding their lives and then finding a way to clamber out of the situation with the help of a sophisticated, strategic man who calculates every step and is always a few moves ahead. Sadly, towards the end, it did start to strain credulity, and considering the unusual premise of the story, I wished for an alternative, more satisfying conclusion than the one we ended up getting, which had no justification whatsoever.

Still, the film remained a captivating and engaging watch through and through, enough to make an impact even despite its rather disappointing ending. Above all, it managed to make the characters relatable and even likable, and that's why you might end up wishing for a different outcome. The three stars work well opposite one another to create a nice team. Jaideep Ahlawat infuses his part with the right amount of stoic awkwardness to successfully create a rather shady and questionable man. Film after film, Vijay Varma appears to make a name for himself as a solid actor who can always be counted on to deliver the goods. He is excellent. It's been a while since I saw Kareena do something as worthy as this film. I even felt sorry she didn't use the extraordinary opportunities available to actresses in India to promote her artistic career. And I'm so happy she picked this film. Here, she looks very much a real person - raw and authentic, and never a star. She intelligently uses her sex appeal to a quiet, more implicit effect, and even though she appears a little indifferent and conscious of the situation in some scenes, she puts in an impressive turn overall. I hope she keeps doing similar projects. Very nice film, overall.